laughter an d t e ar s W HE N O P E R A ME E T S C IRC U S 13 - 18 August _ 1
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T H R O U G H T H E M I R R O R S O F H I S T O RY
C O M M ED I A AND P AGL I A C C I practice and formulae, and the lazzi or comic turns – which hold a benign mirror up to nature – through which the audience can see at a safe distance the pains of being human and laugh at them as a cathartic experience. The clown somehow heals our sorrow through sharing it and demonstrating its lurking absurd potentials.
Pagliacci is a masterpiece that grows from the enduring vibrancy of the theatrical tradition, Commedia dell’Arte, which had its defining period in the 16th and 17th centuries. It was theatre of convention played by absolute professionals, with a line-up of standard characters such as Arlecchino, Colombina, Pulchinello, Capitano, Servetta and the Zanni figures who rendered improvised text. The influence of Commedia on Italian opera is profound, its traditions animating many Italian composers during the 17th and 18th centuries and persisting into the early 19th century and beyond – the plot of Rossini’s The Barber of Seville being an excellent example.
The structured formality of modern circus resonates with the emotional objectivity of Commedia, underscored by technical brilliance which is a resonance of the rhetorical brilliance of “tirata”, the formal improvised speeches of Commedia practice. Thus, the circus practice in our double bill becomes a physical metaphor for the aesthetic of Commedia, manifesting the relationship of this aesthetic to music by expressing the texts of the arias and ensembles in physical action which sometimes assumes a comedic life of its own. The eclectically synthesised score of ‘Laughter’ is drawn from the early Madrigal comedies of Vecchi (1597) and Banchieri (1598) and the tradition of Arie Antiche – whose lyrics are often situationally derived from the plots of Commedia.
The genius of Leoncavallo’s Pagliacci is in its stated ambition to abandon the “vecchie usanze”, the old customs of Commedia, and to make a theatre based on “truth” – real passions as opposed to stylised archetypes. These real passions are explored in the opera plot in the context of those formal archetypes via the “play within a play” and finally break free of them to make a gesture based on the hyper-reality of the passions. In the end, they defy the formal conventions and break free from the formal constraints of the situational comedy of Commedia. Nevertheless, the Commedia characters are mirrors of many of the less comfortable predicaments of human life: illicit love, the sting of unrequited desire in old age, servants outwitting masters and opportunistic charm seducing those with wealth and power.
In essence, ‘Laughter’ is a pasticcio intermezzo, a form with some interesting antecedents. Here is a description by Massimo Troiano of the festivities for the marriage of Duke Wilhelm and Renata of Lorraine in 1568, which consisted of a Commedia cobbled together by the great composer Orlando di Lasso:
However, in the world of Commedia, these all too human discomforts are contained within the two dimensional perspective of the mask, rhetorical
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“After the prologue, Messer Orlando arranged for a Madrigal in five parts to be sung while Massimo, who now played the lover changed his clothes… From the other side of the stage appeared Messer Orlando dressed as
Thus, both ‘Laughter’ and ‘Tears’ have the construct of ‘play within a play’ – images of a working theatre and the lives of the actors and technical crew who staff them. This construct is resonated by our foyer exhibition by the Tonti Filipini Opera Company, formed during the exigencies of WWI in Sydney by itinerant Italian singers: art interrupted and reformed across the tides of history.
Magnifico… with a mask that drew roars of laughter at first sight.” The traditions of Commedia were essentially slapstick, as the critic Muratori points out over 100 years later: “These comedies consist of buffooneries and lewd intrigue, in fact a tangle of absurd situations, in which we find not the smallest trace of verisimilitude… and whose only concern is to make people laugh.”
Moreover, the antics of ‘Laughter’ are often mirrored in the business of ‘Tears’, characters juxtaposed and cross-referenced with the Commedia traditions explored in a lighthearted way. This rich web of correspondence extends sub-textually to the Gesualdo Madrigal sung as a lament when the ‘Laughter’ rehearsal is interrupted; Gesualdo murdered his wife and her lover in a fit of jealous rage and spent the remainder of his life in penitential seclusion composing astonishing music.
Despite the high-minded disdain for Commedia found in the 18th century, the fact that audiences like to be amused kept vigour in the Commedia traditions, and the form alive in practical theatre making up to the present day. Our process of synthesis of a score from extant sources around an absurd plot exactly mirrors operatic practice in the late 16th and 17th centuries, the age of the made-to-order pasticcio. In that spirit of authenticity, I have unashamedly used a 21st century symphony orchestra and its resources of colour in the orchestrations.
Both ‘Laughter’ and Pagliacci mirror each other, their theatrical processes reflect the richness of the theatrical and musical traditions from which they draw sustenance. All their action is mirrored in the idea of their placement in the working life of an actual theatre in a time when events of history intervened. The theatre and life may “not be the same thing”, according to Canio, but at the deepest level, they are mirrors of each other. Mirrors which distort and reinvent perspectives, but mirrors which upon inspection provide glimpses of the deepest truths of the human condition. Enjoy!
Director Emil Wolk has constructed another mirror, placing the proceedings of the evening in a fictional working theatre near Montalto (the alleged scene of the murder in Pagliacci – Leoncavallo’s father was a magistrate). The first part of our show is an imagined final rehearsal of a traditional Commedia, still popular in Italy in the 1930s, interrupted by the declaration of WWII. The action of Pagliacci takes place five years later, as the theatre reanimates post-war and the theatre workers attend a run-through by a reconstituted Commedia company whose tangles of personal relationships unravel as the show progresses.
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Richard Mills Artistic Director & Conductor, Victorian Opera
M AN AGING DIREC TOR ' S ME S S AGE
ANDRE W SNELL Collaboration is at the heart of our work and mindset at Victorian Opera and we’re delighted to be co-producing this work with the State Opera of South Australia. Opera lovers across South Australia will be in for a treat when Laughter and Tears is remounted there in a future season.
Welcome to this evening’s performance and back to the Palais Theatre! Victorian Opera is thrilled to return to this iconic seaside venue for a second outing following last year’s epic 3D reimagining of Wagner’s The Flying Dutchman. Laughter and Tears seems like the perfect production to return with too; another bold reimagining of an operatic classic.
Victorian Opera is able to continue to present productions of the scale and quality of Laughter and Tears thanks to the generous assistance of The State Government of Victoria through Creative Victoria, The Robert Salzer Foundation, our philanthropic supporters; especially our Artistic Director’s Circle and our many corporate partners. Their contributions are vital to our company’s ongoing success.
In this production, the focus is on Leoncavallo’s masterpiece Pagliacci and the Commedia dell’Arte roots of the opera. A desire to contextualise the work for a modern audience provided an opportunity to explore the colourful world of Commedia, and who better to do that than our friends and collaborators at Circus Oz. This production boasts incredible aerial acrobatics and hilarious hijinks alongside breathtaking performances from our cast of internationally acclaimed singers, headed by Rosario La Spina and Elvira Fatykhova.
Thank you for joining us at the Palais Theatre for a night of comedy and tragedy; opera and circus. You’ll laugh, you’ll cry, you’ll love it!
Laughter & Tears marks Victorian Opera’s first collaboration with Circus Oz – an icon of Australian performing arts and it’s been a joy! We extend our great thanks to Circus Oz General Manager Lou Oppenheim and her wonderful team for their input and hospitality. The working styles of an opera and circus company certainly vary but this production has come together magnificently.
Andrew Snell Managing Director, Victorian Opera
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CIRC US OZ ME S S AGE
Lo u O pp e n h e im Crucially, the work that Kate, Geoffrey, DJ and Luke have developed within their independent theatre ensemble, Dislocate, has also made an important contribution to this overall collaboration. We are delighted to be working with Director Emil Wolk again, who was the Guest Director for the Circus Oz 30th Birthday Bash and our Bicentennial Show.
Circus Oz and Victorian Opera are both proud Melbourne performing arts organisations. Through this unique project, we look forward to inviting our audiences to experience a new art form, or to delight in a familiar art form in a new light. Since its ancient beginnings, Circus has been a bricolage of art forms – theatre, music, comedy, dance, puppetry, just to name a few – and this collaboration gives us an exciting opportunity to weave new creative realms into our work. While music inspired by the likes of Vecchi, Banchieri and Leoncavallo may have appeared briefly in our eclectic soundtracks before, it has been a delight and a privilege to explore first hand how this language can inspire and shape our world.
It has been a treat for us to be part of this collaboration, and thank you for coming on this exciting journey with us.
Lou Oppenheim General Manager, Circus Oz
The creation of a circus show is not based on a pre-written script. Rather, the skills of the artists are brought to the rehearsal floor, and through collaboration and exploration of ideas and scenarios, a work begins to emerge. Fitting this type of process within the bounds of a tight operatic structure was always going to be part of the intrigue of this project, and it has been exciting to see the exchange of artistic cultures begin on the floor – even with occasional singing acrobats and juggling singers. This project has brought together Circus Oz Founding Member and Senior Circus Artist Tim Coldwell, Circus Oz Company Member Luke Taylor, and our long term circus alumni Kate Fryer, Geoffrey Dunstan and DJ Garner.
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P RODU C T ION
LAUGHTER AND TEARS 13 - 18 AU GUS T 2016 P A L A I S T H E AT R E , S T K I L D A
Head Electrician Peter Darby
Pagliacci
Repetiteurs Phillipa Safey, Tom Griffiths
Composer and Librettist Ruggero Leoncavallo
Cast in order of appearance
Chorus Preparation Richard Mills, Phoebe Briggs
Running time is approximately 2 hours and 15 minutes with one 20 minute interval.
Stage Hand/Columbina Kate Fryer Stage Hand Geoff Dunstan Stage Hand DJ Garner Stage Hand Luke Taylor Arlecchino/Beppe Michael Petruccelli Minstrel Kate Amos Minstrel Daniel Carison Minstrel Michelle McCarthy Minstrel Shakira Tsindos Capitano/Stage Hand Tim Coldwell Nedda Elvira Fatykhova Canio Rosario La Spina Tonio James Clayton Silvio Fabio Capitanucci
Sung in Italian with English surtitles. Acknowledgements Laughter and Tears is a co-production of Victorian Opera and State Opera of South Australia, presented in association with Circus Oz. Surtitles prepared by Simon Bruckard, with thanks to the Centre of Italian Studies. Creative Team Conductor Richard Mills Director Emil Wolk Set Designer Julie Nelson
Victorian Opera Chorus
Costume Designer Harriet Oxley
Soprano Kate Amos, Elizabeth Barrow, Kirilie Blythman, Michelle McCarthy, Rebecca Rashleigh, Cristina Russo, Diana Simpson, Nicole Wallace
Lighting Designer/Production Manager Eduard Ingles-Sancho Assistant Director Libby Hill Stage Manager Felicity Hollingbery
Mezzo Kerrie Bolton, Fleuranne Brockway, Rebecca Bywater, Ursula Paez, Belinda Paterson, Emma Muir-Smith, Shakira Tsindos, Lynlee Williams
Deputy Stage Manager Elise Stewart Assistant Stage Manager Louise Miller Circus Oz Performer Rigger Christian Schooneveldt-Reid
Tenor Jonathon Bam, Carlos E. Bรกrcenas, Tom Dalton, Michael Edwards, Ernst Ens, Alister Lamont, Timothy Reynolds, Shanul Sharma
Circus Oz Production Assistant Cath Carmody Costume Supervisor Kate Glenn-Smith Head Mechanist Kieran Santoso
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Clarinet Paul Champion Principal, Robert Schubert Associate Principal^, Andrew Mitchell Principal Bass Clarinet
Baritone/Bass Daniel Carison, Paul Hughes, Jerzy Kozlowski, Nathan Lay, Timothy Newton, Alex Pokryshevsky, Matthew Tng, Julian Wilson
Bassoon Lucinda Cran Principal, Timothy Murray Principal Contrabassoon, Matthew Angus*
Orchestra Victoria Concertmaster Roger Jonsson Deputy Concertmaster Yi Wang
Horn Jasen Moulton Principal, Heath Parkinson Associate Principal^, Linda Hewett Principal Third Horn, Sydney Braunfeld, Rachel Shaw~
Violin Erica Kennedy Acting Principal~, Tomomi Brennan Associate Principal, Binny Baik, Alyssa Conrau, Lubino Fernandes~, Rachel Gamer, Matthew Hassall, Rachael Hunt, Mara Miller, Philip Nixon, John Noble, Martin Reddington, Christine Ruiter, Rebecca Adler*, Miranda Matheson*, Edwina Kayser*, Lisa Reynolds*, Christine Wang*
Trumpet Mark Fitzpatrick Principal~, Rosie Turner Associate Principal, Anthony Pope, Tristan Rebien* Trombone Scott Evans Principal, Tony Gilham Associate Principal, Benjamin Anderson Principal Bass Trombone
Viola Paul McMillan Principal, Catherine Bishop, Jason Bunn, Nadine Delbridge, Suying Aw*, Cora Teeuwen*
Tuba Jon Woods Principal^
Cello Melissa Chominsky Principal, Diane Froomes Associate Principal, Sarah Cuming, Philippa Gardner, Tania Hardy-Smith, Andrea Taylor
Timpani Guy du Blêt Principal~, Scott Weatherson Principal^ Percussion Richard Gleeson Principal^, Conrad Nilsson Associate Principal
Double Bass Damien Eckersley Principal, Dennis Vaughan Associate Principal, Davin Holt, Matthew Thorne
Harp Delyth Stafford Principal^, Alannah Guthrie-Jones Associate Principal^
Flute Lisa-Maree Amos Principal~, Karen Schofield Associate Principal, Kate Proctor Principal Piccolo, Dominique Chaseling*
* = Guest Musician ^ = Guest Musician Acting in a Principal Role ~ = Orchestra Victoria musician not appearing
Oboe Stephen Robinson Principal, Joshua de Graaf Associate Principal~, Dafydd Camp Principal Cor Anglais
in this performance
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L AU GH T ER AND T E ARS
THE M US I C O F ‘ LAUGHTER ’ 1.
Intrada
Anon, 16th century
2.
Minstrels Entry – Italian keyboard Album
Anon, 16th century
3.
Minstrels Prologue – Prologue to L’Amfiparnusso (1597)
Orazio Vecchi, 1550 - 1605
4.
‘Udite tutti quanti’ from La Pazzia Senile (1598)
Adriano Banchieri, 1568 - 1634
5.
Già il sole dal Gange
Alessandro Scarlatti, 1660 - 1725
6.
Giga – from Violin Sonata in G minor
Antonio Vivaldi, 1678 - 1741
7.
Corrente from Violin Sonata in D minor
Francesco Durante, 1684 - 1755
8.
Danza, danza, fanciulla gentile
Francesco Durante, 1684 - 1755
9.
Quella fiamma che m’accende
Bernedetto Marcello, 1686 - 1739
10. Teco sì...vengo anch'io
Leonardo Vinci, 1690 - 1730
11. Canon
Antonio Vivaldi, 1678 - 1741
12. Sonata in D major, K. 96
Domenico Scarlatti, 1685 - 1757
13. ‘Lasciatemi morire’ from L’Arianna (1608)
Claudio Monteverdi, 1567 - 1643
14. ‘Pulchinell che vostu far’ from La Pazzia Senile (1598)
Adriano Banchieri, 1568 - 1634
15. ‘Balleto di Villanelle’ from La Pazzia Senile (1598)
Adriano Banchieri, 1568 - 1634
16. Fuor di periglio from Floridante
G.F. Handel, 1685 - 1759
17. Vado ben spesso cangiando loco
Salvator Rosa, 1615 - 1673
18. Sarabanda from Violin Sonata in G minor
Antonio Vivaldi, 1678 - 1741
19. Sebben, crudele
Antonio Caldara, 1670 - 1736
20. ‘Pur ti miro’ from L’incoronazione di Poppea
Claudio Monteverdi, 1567 - 1643
21. Il teatro è la vita
Sigismondo Molino, 1628 - 1701
22. Ecco morirò
Carlo Gesualdo, 1566 - 1613
23. Moro lasso
Carlo Gesualdo, 1566 - 1613
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L AU GH T ER AND T E ARS
SYNOPSIS ACT I Forty five minutes before WWII is declared in 1938, a final dress rehearsal of a traditional Commedia dell’Arte pantomime is taking place in a provincial Italian theatre. It includes a chorus of minstrels whose music comes from the very first madrigal comedies of Vecchi (1577) and Banchieri (1598). An intrada sets the scene, with the stage hands not quite ready. The show begins despite the interruptions of a wilful clown, el Capitano, who becomes the jealous and finally outwitted buffone. This first half is a play being rehearsed like the play within the play in Pagliacci, where Arlecchino/Beppe and Colombina/Nedda are similarly lovers. Confused? Good, this is the essence of Commedia.
The minstrels who are a ‘play within a play’ enter and invite the audience into the world of the Commedia. A beautiful young ward is trapped in an old man’s house. We see Nedda, playing the traditional Innamorata, appear on the balcony obsessively “supervised” by her guardian or old husband. She sings of the new day and one of the minstrels, as Arlecchino, becomes smitten.
Arlecchino/Beppe, still desperate to rescue Innamorata/Nedda garners a second attempt to extract Innamorata/Nedda from her house. A minstrel comforts Capitano who weeps for his lost love. Seven o’clock chimes and the other minstrels remind Arlecchino and his new conquest that theatre and life are not the same thing. The rehearsal run is interrupted by Canio with the news of the declaration of WWII.
He seeks the help of the zanni troupe to get into Capitano’s house and rescue Innamorata/ Nedda. Capitano is seduced by a zanni stage hand, disguised as Colombina who entertains him and by trickery gains entrance to his house. Meanwhile Arlecchino/Beppe and Innamorata/ Nedda declare their love and he, with assistance from the zanni troupe, attempts to bring her down from the balcony prison. This is foiled by the sudden appearance of Capitano and a chase ensues. Innamorata/ Nedda sings a lament.
© Richard Mills
Photography © Charlie Kinross (pp. 2, 3, 12, 30) Illustrations © Harriet Oxley (pp. 11, 13)
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L AU GH T ER AND T E ARS
SYNOPSIS AC T II – PAGL I AC C I Tonio, as a prologue, bids farewell to the old customs of Commedia. He tells us that what we are about to see is not artifice, but real flesh and blood, real passions, real dilemmas and a slice of life as it is really lived, as distinct from the world of fantastic comedy. He introduces Pagliacci and invites us into the reality of a theatre company and the human relationships of its members. Their aspirations, hopes, desires and foibles which will be the focus of new exploration. He gives us this concept and invites us to see how it unfolds. The Commedia masks are removed and real people enact their destinies. On the 15th of August, 1945, the theatre reopens with a reunion of its former employees. Canio is welcomed back and invites all to a rehearsal of their new spectacle to take place that evening. The crew invite Canio and others for a drink, Tonio says he’ll join them later.
Tonio meanwhile, hoping to compromise Nedda, has gone to fetch Canio from drinks. The two return to surprise Nedda and Silvio. He manages to escape without his identity being discovered. Canio is furious and heartbroken in betrayal, but the performance must proceed.
Nedda is alone and muses on the life giving warmth of summer filled with longings she cannot rationalise. She sees the freedom of the birds as two company acrobats rehearse an aerial routine. Tonio intrudes on this happy contemplation with an unwelcome advance and swears revenge for her rejection.
All the theatre crew return from vespers and drinks to see the new show, a Commedia play politicised by the war years. Canio is unable to contain his passion, and his emotion fractures the traditional persona of his character as he scolds Nedda for her duplicity and demands the name of her lover. He kills her. As she dies she calls for help from Silvio, Canio also kills him, dropping the knife as Tonio observes ‘La commedia è finita’.
Silvio, Nedda’s lover, appears and they talk about the reality of Nedda’s loveless marriage to Canio and her dislike of the nomadic life of theatre. They resolve to run away together after the performance that evening.
© Richard Mills
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L AU GH T ER AND T E ARS
B I O GRA P H I ES
RICHARD MIL L S
E MIL WOL K
JUL IE NEL S ON
Conductor
Director
Set Designer
Richard Mills is one of Australia’s most prolific and internationally recognised composers. He pursues a diverse career as a composer, conductor and artistic director. He has held numerous prestigious posts, and received many scholarships, fellowships and awards including an AM, in 1999. He is currently Artistic Director of Victorian Opera, and has previously been Artistic Director of the West Australian Opera 1997 - 2012, Director of the Australian Music Project for the Tasmanian Symphony Orchestra 2002 - 2008 and Musica Viva’s Composer of the Year in 2008. Richard regularly conducts the leading orchestras and opera companies of Australia and has an extensive discography of orchestral works including his own compositions.
Emil Wolk, born in New York City, has worked as a stage director and screen actor with Royal Shakespeare Company, Royal National Theatre and Royal Exchange, Manchester. He was awarded the Laurence Olivier Award as ‘Best Actor in a Musical’ (Kiss Me, Kate). Professional highlights include: Circus Oz’s 30th Anniversary Show; Puck in Britten’s A Midsummer Night’s Dream at La Scala, dir. Robert Carsen; Ariel in Peter Greenaway’s Prospero’s Books, Samuel in Escape from Sobibor for HBO, Judge Kieren Webster in Rake for ABC TV, Charley’s Aunt with Michael Sheen for the Royal Exchange Manchester. He also worked as a Vaudeville Consultant in David McVicar’s Pagliacci at The Metropolitan Opera.
Julie has designed the sets and costumes for over 40 productions in Australia and the UK, including a production of The Clandestine Marriage attended by Queen Elizabeth II. This is her fourth design for Victorian Opera. She has completed set and costume designs for Victorian Opera’s Sleeping Beauty (2012), Cinderella (2013) and The Cockatoos (2010). She was Associate Designer for the Australian Ballet’s production of Romeo and Juliet. Julie also designs for commercial events, most recently for Jamie Oliver’s Food Revolution at Sydney Opera House, Concert Hall.
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HARRIE T OX L E Y Costume Designer Harriet studied at RMIT and VCA and now designs costumes primarily for music and movement. For Victorian Opera, Harriet designed Into the Woods, Assembly, The Bear, Angelique, and The Snow Queen. Her design for Angelique won the 2011 Green Room Award for Design for Opera. In contemporary dance, she has worked for award-winning choreographers such as Gideon Obarzanek (Chunky Move and Sydney Dance Company), Stephanie Lake, Michelle Heaven, Ros Warby, Victoria Chiu, and is soon to work with Lucy Guerin, and Dancenorth. Harriet has designed circus costumes for Dislocate and NICA, and costumes for VCA’s Music Theatre department, as well as the big budget musical Moonshadow the Musical.
EDUARD INGL E S - S ANCHO
L IBBY HIL L
Lighting Designer
Libby trained as a classical dancer, performing with the West Australian Ballet for ten years before moving into freelance choreography, working primarily with opera productions. During this time, she developed an interest in the artistic management and administration of companies. She was the Company Manager at Opera Australia, followed by Artistic Liaison Manager. Since 2012, Libby has been Executive Producer for Victorian Opera. In addition to this role, she has also directed several productions for the company, including Hansel and Gretel, The Play of Herod and Alice’s Adventures in Operaland. Libby most recently directed Victorian Opera’s production of Cinderella.
Eduard has created lighting designs for some of the most prestigious dance, theatre, and opera companies in both Europe and Australia. Since moving to Melbourne from Barcelona in 2004, he has worked as a designer for theatrical productions and exhibitions including; The Key (Dislocate), Dance of the Bee (Astra), Rembrandt's Wife (Victorian Opera), If These Walls Could Talk…? (Dislocate), Bradman Hall Of Fame (Bradman Museum), Leap of Faith (National Institute of Circus Arts), Racing Gallery (National Sports Museum), A Newcastle Story (Newcastle Museum), Silverscreen (Callum Morton), Last Orders (National Institute of Circus Arts), and Curiosity (Dislocate).
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Assistant Director
L aughter and T ears
B I O GRA P H I ES
K AT E F RY E R
GEOF F RE Y DUNS TAN
D J G ARNER
Stage Hand/Columbina
Stage Hand
Stage Hand
Kate Fryer has been a performer, director, teacher and writer of circus and physical theatre for 20 years. Combining story-telling and physical mayhem she has travelled the globe performing at street festivals, major events and in some of the world’s most prestigious theatres. She is a founding member and Artistic Director of Dislocate’s Theatre Program and has worked with Circus Oz, QTC, Legs on The Wall, Strut & Fret, Rock n Roll Circus, Circa, Olympic and Commonwealth Games Cultural Programs and festivals worldwide. As a director she has helped create circus acts, ensemble productions and curated parades.
Geoffrey has been a physical theatre performer, and producer for almost 20 years. He has danced, sung, composed, directed, produced, clowned, rigged and somersaulted his way around the world working for companies such as Circus Oz, Rock’n’Roll Circus, Dislocate, Circa, Queensland Theatre Company, Melbourne Theatre Company, Torque show, Y Space, JOLT, Hothouse Theatre, Horned Moon Productions, QPAT, Chambermade Opera, Snuff Puppets, MDPE, The Australian Shakespeare Company and Legs on the Wall, to name a few. He is a founding member of Dislocate Circus Theatre and currently the Artistic Director of Children’s Theatre. Geoffrey is also the Director of Ruccis Circus School.
DJ Garner has spent 29 years honing his skills, producing a physical vocabulary of acrobatics and slapstick to defy the eye and tantalise your funny bone. After a staggering 17 years training in gymnastics and 12 years judo competing both nationally and internationally, DJ Garner completed a Diploma of Circus Arts at the National Institute of Circus Arts in 2003. Most recently, after returning to Australia from the USA on completion of his Cirque du Soleil contract in the internationally acclaimed Quidam DJ has taken on the role of Artistic Director of the Corporate and Special Event side of things in the Dislocate team.
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L U K E T AY L O R
MICHAEL PE TRUCCELLI
T IM C OL DWEL L
Stage Hand
Arlecchino/Beppe
Capitano/Stage Hand
Luke’s circus career started when he joined the Flying Fruit Fly Circus at aged 12, and toured nationally and internationally with the Fruities. Luke spent a year with Lunar Circus touring Western Australia and the Northern Territory performing, teaching workshops, and taking turns driving a large bus across the Nullarbor. He completed the Bachelor of Circus Arts at the National Institute of Circus Arts, refining his solo juggling and extending his group acrobatic skills. Since graduating Luke has performed with various companies including Circus Oz, Circa, Circus Risque, Dislocate, Chipolatas and Throw Down, and co-founded the circus show Caravan with other circus school graduates.
Recognised as an engaging and passionate performer, Michael Petruccelli is establishing himself as one of Melbourne’s emerging operatic tenors. With Victorian Opera, he has performed the roles of Giuseppe in La Traviata, the Sandman in Hansel and Gretel, the White Rabbit in Alice’s Adventures in Operaland and Lord Arturo Bucklaw in Lucia di Lammermoor. He will make his debut for Opera Australia performing Stephen Goldring in Sydney Opera House, The Opera. Michael is also the recipient of the RJ & AF Hamer Opera Scholarship with the Dame Nellie Melba Opera Trust, and is a current artist in Victorian Opera's Professional Development Program.
Tim is an acrobat, trumpeter and clown with Circus Oz, a member of the Board of Directors, the Executive in charge of Production and, from time to time, tent designer, props engineer, inventor and director. He has previously been the Artistic Director and Chair of the Board. Tim started with Ashton’s Circus in 1974, and co-founded New Circus in Adelaide later the same year. He toured with New Circus and Circus Royale and co-founded Circus Oz in 1978. Tim used to stand on his head on a high wire, and ride the group bike. He also originated and performed the signature Circus Oz Roofwalk Act and walked across the Torrens River on a highwire.
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L aughter and T ears
B I O GRA P H I ES
E LV I R A Fatykhova
ROS ARIO L A SP IN A
J A M E S C L AY T O N
Nedda
Canio
Tonio
Russian soprano Elvira Fatykhova debuted in Australia as Violetta (La Traviata) with the Tasmanian Symphony Orchestra and has since sung many of the leading lyric coloratura roles, such as Gilda (Rigoletto), Lucia di Lammermoor, Rosina (The Barber of Seville), Manon (Massenet), Donna Anna (Don Giovanni), Countess (The Marriage of Figaro), with Opera Australia, New Zealand Opera, all the Australian State opera companies, Salzburg Opera, Ankara State Opera, Croatia State Opera, Bashkirian State Opera and Opera Holland Park, London. Elvira’s concert appearances include Opera Australia’s New Year’s Eve Gala, Hong Kong Philharmonic Orchestra, Haydn Orchestra, Bolzano, and the Presidential and Bilkent Symphony Orchestras of Turkey.
Rosario La Spina’s American debut was as Rodolfo (La bohème) for Seattle Opera in 2007; he returned to Seattle as Radames (Aida) and made his first Canadian appearances in the same role. Since 2013, he has appeared as Radames in Detroit, Sydney, Melbourne, Adelaide and New Zealand; Don Alvaro (La forza del destino) in Adelaide; Gaston (Jérusalem) in Fidenza, Don José (Carmen) in Japan and throughout Australia; Pollione (Norma) for Victorian Opera; Manrico (Il trovatore) for West Australian Opera and Calaf (Turandot) for Opera Australia. In 2016, he sang The Prince (Love for Three Oranges) in Sydney and will perform Samson (Samson et Dahlia) in Tokyo and Cavaradossi (Tosca) in Adelaide.
In 2016, James Clayton sang Scully (The Riders) for West Australian Opera and The Speaker (The Magic Flute) for New Zealand Opera. He also appears as a soloist with the Melbourne and New Zealand Symphony Orchestras. Most recently, he has sung Escamillo (Carmen) for Opera Australia and several roles for West Australian Opera – the title roles in Rigoletto, Le nozze di Figaro and Il barbiere di Siviglia, Leporello (Don Giovanni), Iago (Otello) and Conte di Luna (Il trovatore). A regular soloist with all the major Australasian symphony orchestras, James made his Japanese debut as Don Alfonso in Così fan tutte for Biwako Hall.
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FA B I O C A P I T A N U C C I
K ATE AMOS
DANIEL C ARIS ON
Silvio
Minstrel
Minstrel
At the age of 23 Fabio Maria Capitanucci won the Teatro Lirico Sperimentale di Spoleto competition, and from 1999 until 2001 worked at the Accademia di Perfezionamento of Teatro alla Scala. In 2002 he was awarded the Premio Renato Bruson at its first edition. Since 1999, he has been a regular guest at Teatro alla Scala in Milan. In the past seasons: Falstaff at La Scala and in San Francisco; La Traviata at Wiener Staatsoper and in Munich; Madama Butterfly in Barcelona; Les Troyens at la Scala; La Vedova allegra in Genoa, Falstaff in Bamberg and Luzern, La Bohème in Genoa, Madama Butterfly in Bergen.
Kate is a young Melbourneborn soprano and she holds a BMus (Honours) and Dip. Lang (Italian) from The University of Melbourne, and is a current artist in Victorian Opera’s Professional Development Program. In 2015, Kate completed a Masters of Music (Opera Performance) at the MCM in conjunction with Victorian Opera. A prestigious Sleath Lowrey Scholarship winner, Kate studied at the Fondazione Pergolesi Spontini in Italy winning a study scholarship through the Italian Acclaim Awards and recently was an Australian Singing Competition finalist winning the Symphony Australia Prize, Merenda Scholarship and UK Royal-Overseas League Award under maestro Johannes Fritzsch. She recently performed the title role in Victorian Opera’s production of Cinderella.
Daniel holds a Bachelor of Music at The University of Melbourne, is a current artist in Victorian Opera’s Professional Development Program and a scholar with The Melba Opera Trust. Performance highlights with Victorian Opera include; Pandolfe in Cinderella, Ensemble in The Flying Dutchman and Sweeney Todd along with Balthazar in The Play of Herod. Daniel is a seasoned concert and oratorio performer and has received tremendous ovations particularly for his performances of Schubert’s Winterreise, his live radio performance of Schumann’s Dichterliebe on 3MBS and the World Premiere of Cassomenos’ Requiem For The End of Time. Daniel is the winner of a number of highly regarded singing competitions including; The Royal Philharmonic Aria and 3MBS’ The Talent.
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L aughter and T ears
B I O GRA P H I ES
MI C HE L L E M c C A R T h Y
SHAKIR A T SIND OS
Minstrel
Minstrel
Michelle completed a Bachelor of Music at the Melbourne Conservatorium of Music in 2013, and is a current artist in Victorian Opera’s Professional Development Program. Upon graduation Michelle was cast as the title role in the Opera Australia Schools Company production of Cinderella. In 2015 Michelle starred as Williamson Girl in the Australian premiere of The Difficulty of Crossing a Field as part of the NagambieLakes Opera Festival. Concert engagements include soloist in Carmina Burana, Mozart Requiem, Handel Dixit Dominus, Kodaly Missa Brevis and with the MSO in Jeff Mills and Derrick May’s performance at the Sidney Myer Music Bowl. She recently performed the role of Fairy Godmother in Victorian Opera’s production of Cinderella.
Shakira holds a Bachelor of Music from the University of Melbourne, and graduated with Honours. She is a current artist in Victorian Opera’s Professional Development Program and made her major operatic debut opposite Jessica Pratt in Lucia di Lammermoor in April. Other roles for Victorian Opera include Dorothée in Cinderella, the Mother in The Grumpiest Boy in the World and Ensemble in Remembrance. Other credits: Snow White in Gordon Kerry’s Snow White and Other Grimm Tales and Carmen in Carmen in the Caves alongside David Hobson. Shakira is the 2016 recipient of the Joseph Sambrook Opera Scholarship with the Melba Opera Trust. Earlier this year, Shakira made her successful MSO debut as the soloist in Hitchcock and Herrmann.
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BRINGING OP ER A TO T HE REGIONS
T O UR I NG Warragul
Victorian Opera is excited to tour regional Victoria with two productions – The Pied Piper and Cinderella.
West Gippsland Arts Centre Cinderella Tuesday 25 October, 10:30am & 1:30pm
Richard Mills’ kooky new opera, The Pied Piper, has been specifically written for community involvement and features local community members, children through to adults, performing as rats and the citizens of Hamelin alongside the cast and orchestra in each region. Our music staff have enjoyed working with over 380 Victorians who will perform on stage in their local arts centres.
The Pied Piper Thursday 27 October, 11:00am & 7:30pm
Bendigo The Capital Cinderella Wednesday 2 November, 10:30am & 1:30pm The Pied Piper Friday 4 November, 6:00pm & 5 November, 2:00pm
We’re proud to share the joy of singing and live performance across the state and can’t wait to visit Port Fairy, Mildura, Warragul, Bendigo, Shepparton and Albury/Wodonga.
Shepparton Westside Performing Arts Centre
Southcombe Park Stadium
Cinderella Tuesday 8 November, 10:30am & 1:30pm
The Pied Piper Sunday 9 October, 3:30pm
The Pied Piper Friday 11 November, 7:30pm
Mildura
Albury/ Wodonga
Port Fairy
Mildura Arts Centre
Albury Entertainment Centre
Cinderella Tuesday 18 October, 10:30am & 1:30pm
The Pied Piper Wednesday 16 November, 7:30pm
The Pied Piper Thursday 20 October, 7:30pm
Government Partners
Foundation Partner
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Regional Partners
VIC TORIAN OP ER A
P ATR O NS Ian Merrylees John & Elisabeth Schiller Tim & Lynne Sherwood Lady Southey Felicity Teague Earl & Countess of Wilton Anonymous (1)
Founding Patrons The Late Dame Elisabeth Murdoch AC DBE Lady Potter AC Leadership Circle ($20,000+) Deanne Bevan & Guy Russo William J Forrest AM Hans & Petra Henkell* Dr John & Elizabeth Wright-Smith*
Silver Patrons ($1,000+) Ian Baker & Cheryl Saunders Laurie Bebbington & Elizabeth O’Keeffe Kirsty Bennett Buckett Family The Hon David Byrne Terry & Christine Campbell Deidre Cowan Ernest Dawes OBE & Nola Dawes Bill Fleming John & Gaye Gaylard Brian Goddard Nance Grant AM MBE & Ian Harris Gras Foundation Lesley Griffin Irene Irvine Simon L Jackson & Brian Warburton Sean Kelly Rod & Daniele Kemp Angela & Richard Kirsner John & Lynne Landy Dr Paul & Glenys Lejins Dr Anne Lierse Margaret Mayers & Marie Dowling Douglas & Rosemary Meagher Jane Morris Greg Noonan Ruth & Tom O’Dea Jillian Pappas Jane Patrick & Robert Evans Lynette Payne Prof Margaret Plant Prof Dimity Reed AM Prof John Rickard Michael Rigg
Artistic Directors Circle ($10,000+) Rob & Caroline Clemente John & Diana Frew Jane Hemstritch Suzanne Kirkham* Peter & Anne Laver Geraldine Lazarus & Greig Gailey* Dr Richard Mills AM Platinum Patrons ($5,000+) Beth Brown & Tom Bruce AM* Siobhan Lenihan* Kaye Marion Don & Angela Mercer Marian & Ken Scarlett OAM* Greg Shalit & Miriam Faine Anonymous (1) Gold Patrons ($2,500+) Joanna Baevski Tanya Costello & Peter Costello AC Dr Terry Cutler Craig D’Alton & Peter Sherlock Bob Garlick Dr Jennifer George & Rev Matthew Williams Mary-Jane Gething and Joseph Sambrook Murray Gordon Peter & Jenny Hordern Stewart & Denise Jackel Ian Kennedy AM & Dr Sandra Hacker AO Alun & Patricia Kenwood Peter Lovell
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If you would like to get more involved in the work of Victorian Opera by becoming a Patron, please contact Pooja Dutt, Individual Giving Manager on 03 9001 6408 or poojad@victorianopera.com.au
Judith Robinson & Michael Robinson AO Judith Rodriguez Tomasz & Elzbeita Romanowski Graeme Samuel AC & Jill Davies Michael Sassella Aubrey Schrader Phillip & Sue Schudmak Andrew Snell Penny Stragalinos Caroline Travers OAM Dr Michael Troy Chris & Helen Trueman Liz & Peter Turner Caroline Vaillant David Valentine Catherine Walter AM Russell Waters & Marissa Barter-Waters Ian A Watts Anonymous (2)
Gillian Montgomery Carmel Morfuni Ian Morrey & Dr Geoffrey Minter Patrick & Nichole O’Duffy John & Marion Poynter Merlyn Quaife Greg J Reinhardt Ralph & Ruth Renard Mary Ryan Dr John & Thea Scott Prof Michael Smith Mr Sam Smorgon AO & Mrs Minnie Smorgon Prof Elsdon Storey Hugh & Elizabeth Taylor Tam Vu & Cherilyn Tillman Dr John Ward Peronelle Windeyer Anonymous (11)
Bronze Patrons ($500+)
G Bawden and L DeKievet Lesley Bawden Frank and Danielle Chamberlin Colin Gunther and Richard Laslett Jane Kunstler Tony Wildman and Robert Gibbs Anonymous (3)
Bequests
Jenny Anderson Ines & Dr Don Behrend David Bernshaw & Caroline Isakow John & Nancy Bomford Pam Caldwell Dr Jennifer Coghlan-Bell & A/Prof Simon Bell Angela Dhar Catrionadh Dobson & Charles Windeyer Beatrice & Richard Donkin Dr M Elizabeth Douglas Jean Dunn Dennis Freeman Richard & Isabella Green Jill & Robert Grogan Dr Garry Joslin Angela Kayser I Kearsey & M J Ridley Robert & Pamela Knight Peter & Barbara Kolliner Jane Kunstler Joan & George Lefroy Peter & Susan Martin
*Victorian Opera would like to thank the following patrons for their support of our Education and New Work Syndicates: Education Syndicate Hans & Petra Henkell Geraldine Lazarus & Greig Gailey Dr John & Elizabeth Wright-Smith New Work Syndicate Beth Brown & Tom Bruce AM Suzanne Kirkham Siobhan Lenihan Marian & Ken Scarlett OAM
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COME AND JOIN IN THE FUN AT CIRCUS OZ WITH A RANGE OF ENGAGING PROGRAMS FOR THE YOUNG AND FOREVER YOUNG!
CIRCUS CLASSES A range of classes for kids, teens and adults. Learn new skills in a safe and friendly environment.
THE MELBA SPIEGELTENT HIGH FLYING TEAMS Corporate circus classes to empower and build team communication, trust, risktaking and leadership.
CIRCUSOZ.COM 50 PERRY ST COLLINGWOOD 9676 0300 _ 24
Collingwood’s hidden treasure. Catch a show and a drink, or hire the Melba for your own private function.
CIRC US OZ
A B O UT US Founded in 1978, Circus Oz is credited with revitalising a traditional art form through the creative collaboration of some of Australia’s most talented artists in physical theatre, circus, dance, music, and comedy. Celebrating breathtaking stunts, irreverent humour, cracking live music and an all-human ensemble, Circus Oz promotes the best of Australia: generosity, diversity, death-defying bravery, and a fair go for all. We have toured to 27 countries across five continents, performing our uniquely Australian form of contemporary circus to four million people of all ages and cultural backgrounds. With a strong focus on social justice, alongside our annual national, regional, remote and international tours, Circus Oz engages over 7,500 people each year through our circus skills workshops and hosts a number
of art form development programs, including our award-winning BLAKflip masterclasses for Indigenous artists. Circus Oz Chair Wendy McCarthy AO Artistic Director Rob Tannion General Manager Lou Oppenheim Senior Circus Artist Tim Coldwell Senior Artistic Associate Antonella Casella
Photography: Š Robert Blackburn
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Corporate Partnerships Account Manager Fiona Gosschalk
Orchestra Victoria is a wholly owned subsidiary of The Australian Ballet. T: (03) 9694 3600 www.australianballet.com.au
Trust & Foundations Manager Donna Cusack Philanthropy Manager James Worladge (03) 9669 2732 jamesw@australianballet.com.au
Management Artistic Director Nicolette Fraillon
Patrons Manager Olivia Passmore (03) 9669 2776 oliviap@australianballet.com.au
General Manager Julie Amos Operations Manager Fiona Boundy
Board
Project Manager Margaret Lloyd
Libby Christie Peter Hough Angela Kelly David McAllister AM
Personnel Manager Sara Pheasant Deputy Orchestra Manager Harriette Blanden
Philanthropy at Orchestra Victoria
Operations Coordinator Mark Lowrey
Endowment Funds
Administration Coordinator Elise Lerpiniere
Education Lesley & Bob Qualtrough Bequest The Judith & Alasdair McCallum Fund Hamilton and Western District Fund Geoff and Helen Handbury Foundation
Operations Assistant Rachel Owen Orchestra Librarian Glynn Davies
Estates Mrs Neilma Baillieu Gantner
Administration Trainee Lucy Barker
Trusts and Foundations Gandel Philanthropy The William Buckland Foundation
HR Consultant Ange Park Marketing Specialist Melissa Ray
Planned Giving GC Bawden & L de Kievit
Operations Accountant Arnold Gschiel Government Relations & Strategic Communications Manager Dana Moran
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Principal Regional Partner
Orchestra Victoria is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body
Orchestra Victoria is supported by the Victorian Government through Creative Victoria.
H. E. McKenzie Peter McLennan & John Landers Ms Marilyn Meyer Michelle and Ian Moore Prof David Penington Lady Potter AC CMRI Kerryn Pratchett Mr John Redman Judith Robinson & Michael Robinson AO Adrienne Shaw Libby Smith Bruce & Leona Sterling H & EA Van Herk Henry Winters Helen & Wayne Worladge Igor Zambelli & Jenny Lee Anonymous (2)
Annual Giving The Conductor's Podium Mr Robert Albert AO RFD RD & Mrs Elizabeth Albert Geoff and Helen Handbury Foundation The Concertmaster's Ensemble Joan and Peter Clemenger Trust Ms Linda Herd Dr Peter A Kingsbury Avner Klein & Maria Pannozzo The Prescott Family Foundation Principal Donors Betty Amsden AO Gaye & John Gaylard Dr Alastair Jackson Judith & Alasdair McCallum Don & Angela Mercer Mrs Margaret S Ross AM Victor & Karen Wayne
Current as at 17 July 2016 Orchestra Victoria Instrument Acquisition is supported by Creative Partnerships Australia through Plus1
Patrons David & Cindy Abbey Maple-Brown Abbott Marc Besen AC & Eva Besen AO Tom Bruce & Beth Brown Peter & Ivanka Canet Mr Jim Cousins AO & Mrs Libby Cousins Ms Jane Edmanson OAM Mr William J Forrest AM Louis J. Hamon OAM Henkell Family Fund Russell and Jenni Jenkins Peter & Carmel Johnson G C Bawden & L de Kievit Peter Kolliner OAM & Barbara Kolliner
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VIC TORIAN OP ER A
A B O UT US In our ten year history, over 300,000 audience members have experienced a performance with Victorian Opera – over 20,000 of those attending regional performances. We have created 16 new Australian works and collaborated with some of Australia’s leading companies. We employ hundreds across the theatre industry and recruit some of the finest singers from Australia and around the world. We are committed to the accessibility of opera through tactile tours, audio described and relaxed performances. We have inspired over 500 young singers through our youth opera program and developed over 30 emerging artists. In 2016 under Artistic Director Richard Mills, we continue to reimagine opera and present opera without boundaries.
We support green printing initiatives
To reduce our carbon footprint, this programme is printed on locally made paper. We’ve used vegetable based inks with alcohol free printing initiatives on 100% recycled carbon neutral paper by Printgraphics under ISO 14001 Environmental certification.
Explore our world Go behind the scenes of our latest productions, listen to our podcast The Art of Opera and find more online at victorianopera.com.au Connect @victorianopera #victorianopera
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VIC TORIAN OP ER A
STA F F Conductor Emeritus
Finance and Administration
Richard Gill OAM
Finance & HR Manager John Orr Finance Assistant Claire Voumard
Victorian Opera Board Chairman Jane Hemstritch
Development and Marketing
Deputy Chairman Greig Gailey
Development Manager Louise O’Loughlin
Roger Box
Individual Giving Manager Pooja Dutt
Vivienne Corcoran
Development Coordinator Meredith Dellar
Francis Ebury, Earl of Wilton
Events Coordinator/Office Administration Hayley Haynes
Anne Gilby
Marketing & Communications Manager Henri Marron
Siobhan Lenihan Penny Stragalinos
Marketing & Communications Coordinator Alexia Jordan
Executive
Media & Communications Executive Scott Whinfield
Artistic Director Dr Richard Mills AM Managing Director Andrew Snell Executive Producer Libby Hill
CRM & Ticketing Executive Nichole O’Duffy
Artistic, Engagement & Production
Victorian Opera 2016 Season Staff
Head of Music Phoebe Briggs
Deputy Electrician Daniel Gosling
Repetiteur Phillipa Safey
Technical & Operations Coordinator Peter Darby
Costume Makers Justine Coultham, Marushka Blyszczak, David Anderson, John Van Gastel, Lara Barwick, Pettie Danos, Emma Ikin, Peggy Moad, Johanna Gallagher, Susan Skinner, Samantha Peerson, Madeleine Somers, Tristan Seebohm, Patricia Chircop – Knit Melbourne, Jan Szczepanik – Berenson Tailors, Phillip Rhodes Hats, Claire Best – Handmade Shoes, Simon Bainbridge – Allprops
Production Coordinator Luke Hales
Production Props Greg Taylor
Artistic Administration Coordinator Kate Stephens Artistic Administration Assistant Candice MacAllister Education Officer Deborah Vanderwerp
Sound Production Jim Atkins Surtitles Tim Mallis
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L AU GH T ER AND T E ARS
1 0 0 Y EARS E rcole and N ancy F ilippini This year marks the centenary of the arrival of baritone Count Ercole Filippini in Australia. Born in Buenos Aires, Argentina in 1885 to Italian parents, he made his professional debut in his home city, before gaining a contract with Italy’s prestigious La Scala opera house in Milan in 1912. With the closure of theatres in Europe during World War I, Filippini joined the Gonsalez Opera Company for a tour that included India, China, and the Philippines, followed by 14 months in Australia and New Zealand from June 1916. When the tour ended Filippini remained in Australia and, in 1918, opened a school of opera in Sydney. One of his students was a young music graduate, Anne McParland (later known as Nancy), and by the end of the year the couple were married. In 1919 Filippini joined Frank Rigo’s touring company, which featured other Italian principals and Australian singers.
Count Ercole Filippini as the ill-fated jester in Verdi’s Rigoletto
In the early 1930s they broadcast regularly on ABC Radio in Perth, even performing full operas with their company in the studio. Ercole Filippini died at the age of 48 in 1934. Nancy continued her involvement with singing, broadcasting, and leading choirs and orchestras; she died in 1987, aged 91. Instrumental in sharing Italian opera across Australia, their musical legacy also continues through many family members including grandson, singer-songwriter Paul Kelly.
During the 1920s, the Filippinis set up Grand Opera companies in South Australia and Western Australia, all the while envisioning a national audience. Ercole performed onstage while Nancy produced and directed. She became Australia’s first female conductor of symphony orchestras and later joined her husband in lead roles.
Text courtesy of Arts Centre Melbourne, Performing Arts Collection
The pair were dedicated to making Italian opera widely accessible, touring regularly to the outback and remote corners of the country as well as major cities. In order to make ends meet, Ercole also sang in vaudeville venues and cinemas, and together with Nancy, experimented with shortened versions of operas.
Opera Pioneers in Australia A display celebrating the contribution of Ercole and Nancy Filippini to Italian opera in Australia Arts Centre Melbourne, Smorgon Family Plaza, level 5 Until 30 August 2016
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VIC TORIAN OP ER A
P ARTNERS Victorian Opera is supported by the Victorian Government through Creative Victoria. Victorian Opera would also like to acknowledge, with great appreciation, the contribution of the partners listed on this page.
Government Partners
Foundation Partner
University Partner
Regional Partner
Supporting Partners
Trusts & Foundations
Sylvia Fisher Fund
Gailey Lazarus Foundation
Henkell Family Fund
The Marian & E.H. Flack Trust
The Pierce Armstrong Foundation
William Angliss Charitable Fund
Performance Partners
Technology & Lighting Partners
For tailored business partnerships with Victorian Opera, please contact Louise O’Loughlin, Development Manager on (03) 9001 6405 or louise@victorianopera.com.au
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F O UR SA I NTS I N THREE A C TS First performed on Broadway in the 30s with a cellophane set, Virgil Thomson and Gertrude Stein's ground breaking masterpiece is inspired by jazz, gospel and folk music. Their fantasy world of 16th century saints is revivified for the 21st century with surreal 3D imagery. 30 September - 1 October Merlyn, The Coopers Malthouse
@victorianopera #victorianopera #voFourSaints Proudly supported by Victorian Opera’s Education Syndicate Government Partner
Foundation Partner
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Performance Partner
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